Jonathan Rosenbaum

From the Chicago Reader (September 15, 2000). It’s delightful to report that this film is now available in the U.S. from Icarus Films. — J.R.

One Day in the Life of Andre Arsenevich

Rating **** Masterpiece

Directed and written by Chris Marker.

Industry flacks claim that Hollywood movies have been dumbed down out of commercial necessity — they’re just giving audiences what they want. I don’t buy it. Audiences aren’t being offered intelligent movies, or at least those aren’t the ones getting multimillion-dollar ad budgets. This was especially the case during the past summer, though as usual, most of the press tolerantly excused the fare as standard silly-season stuff — as if we and not the industry and their advertisers were responsible. The flacks may love to shift the blame by telling us how dumb we all are, but their contempt finally may be causing a minor counterreaction.

Difficult, demanding, and incorrigibly serious art movies have been becoming more popular — though that may be less the result of a backlash against Hollywood than of a growing awareness that the makers of art movies are more respectful of the seriousness, intelligence, and spirituality of moviegoers. The first solid indication of this trend I noticed was the nationwide success of the Robert Bresson retrospective, which came to the Film Center in the spring of 1999 and drew enough crowds to warrant a partial revival of the series a few months later. Read more

From the Chicago Reader (January 29, 1999). — J.R.

Gloria

Rating * Has redeeming facet

Directed by Sidney Lumet

Written by Steven Antin

With Sharon Stone, Jean-Luke Figueroa, Jeremy Northam, Cathy Moriarty, Mike Starr, Bonnie Bedelia, and George C. Scott.

I don’t much relish remakes, especially of movies I like — I’ve avoided seeing the new Payback, a retooling of John Boorman’s Point Blank (1967) — but the idea of Sidney Lumet remaking John Cassavetes’s Gloria (1980) with Sharon Stone seemed to offer possibilities. After all, Cassavetes wrote the script for MGM thinking someone else would direct it; he wound up directing it himself for Columbia only because his wife, Gena Rowlands, was the star and the studio asked him to. “Look, I’m not very bright,” he insisted in an interview. “I wrote a very fast-moving, thoughtless piece about gangsters. And I don’t even know any gangsters. Gloria has a wonderful actress and a very nice kid [John Adames] who’s neither sympathetic nor unsympathetic. He’s just a kid. He reminds me of me — constantly in shock, reacting to this unfathomable environment.” Later he added that when he began shooting Gloria, “I was bored because I knew the answer to the picture the minute we began….All Read more

From the Chicago Reader (October 5, 1990). — J.R.

Michelangelo Antonioni’s first feature in color (1964) remains a watermark for using colors creatively, expressionistically, and beautifully; to get the precise hues he wanted, Antonioni had entire fields painted. A newly struck and restored print of the film makes clear why audiences were so excited a quarter of a century ago by his innovations, which include not only expressive uses of color for moods and subtle thematic coding but striking uses of editing as well. This film comes at the tail end of his most fertile period, immediately after his remarkable trilogy consisting of L’avventura, La notte, and L’eclisse; Red Desert may not be quite as good as the first and last of these, but the ecological concerns of this film look a lot more prescient today than they did at the time. Monica Vitti plays an extreme neurotic married to industrialist Richard Harris, and Antonioni does eerie, memorable work with the industrial shapes and colors that surround her, which are shown alternately as threatening and beautiful; she walks through a science fiction lunar landscape spotted with structures that are both disorienting and full of possibilities. Like any self-respecting Antonioni heroine, she’s looking for love and meaning — more specifically, for ways of adjusting to new forms of life — and mainly finding sex. Read more

[IN DREAMS BEGIN RESPONSIBILITIES: A JONATHAN ROSENBAUM READER]

This is an early, abbreviated draft of an introduction to a proposed collection of mine that has subsequently found a publisher (Hat & Beard Press [Los Angeles]/Invisible Republic [Chicago]). I posted this early draft to use in a workshop that I was conducting at Kino klub Split (June 17-22) in Croatia, based on certain concepts proposed in this book. –- J.R.

So complex is reality, and so fragmentary                                      and simplified is history, that an 
omniscient observer could write an 
indefinite, almost infinite, number of 
biographies of a man, each emphasizing 
different facts; we would have to read 
many of them before we realized that 
the protagonist was the same.
               Jorge Luis Borges, 1943

I get a great laugh from artists who 
ridicule the critics as parasites and 
artists manqués —- such a horrible joke. 
I can't imagine a more perfect art form, 
a more perfect career than criticism. I 
can't imagine anything more valuable to 
do, and I’ve always felt that way.
                     Manny Farber, 1977

First, a few ground rules. Because most of us live in a culture where our marketers also tend to be our preferred epistemologists, editors, and censors, I want to override their usual restrictions that govern collections of this kind by drawing upon my literary criticism and my music criticism (mostly of jazz) as well as the film criticism that I’m usually known for, meanwhile charting some of the potential and actual interactivity between these arts in order to define some of the attributes of my own particular niche-market, at least as I’m defining and addressing it here. Read more

From the Chicago Reader (July 16, 2004). — J.R.

It’s much more of an action flick than either Metropolis or Blade Runner, but there’s a provocative and visionary side to this free adaptation of Isaac Asimov’s SF classic that puts it in the same thoughtful canon. The story is set in Chicago in 2035, and the cityscape, designed by Patrick Tatopoulos, is futuristic yet Victorian around the edges. Built into the mystery plot are reflections about robots as extensions of human will that build up to a wide-ranging but unpreachy critique of everything from corporate malfeasance to the Patriot Act. Will Smith plays an old-fashioned homicide cop investigating the ostensible suicide of a scientist; Bridget Moynahan is an expert in robot psychology. Alex Proyas (The Crow, Dark City) directs a script by Jeff Vintar and Akiva Goldman that’s lively enough to justify a few hokey flourishes. R, 100 min. Burnham Plaza, Century 12 and CineArts 6, Chatham 14, Crown Village 18, Davis, Ford City, Gardens 1-6, Golf Glen, Lawndale, Lincoln Village, Norridge, North Riverside, River East 21, 62nd & Western, Village North, Webster Place. Read more

From the Chicago Reader (November 1, 1999). — J.R.

Louis Malle’s seven-part, 378-minute 1968 documentary series is one of my favorites among his works. His upper-class misanthropy and morbidity usually alienate me, but this essayistic travel diary avoids any pretense of objectivity in order to present itself as a highly personal search — narrated in excellent English by Malle himself in the version I’ve seen, but in French with subtitles in this version. In the first episode he addresses the problem of everyone he meets in India describing the country in Western terms, then goes on to reflect on how his filmmaking affects his subjects; from there he takes in everything from a water buffalo being devoured by vultures to interviews with a few European hippies about why they’re in India. With his wide-ranging but rambling approach Malle undoubtedly misses or skimps on certain topics, but his mercurial intelligence keeps this lively and fascinating. (JR) Read more

From the Chicago Reader (January 23, 2004). Although I don’t want to begrudge Errol Morris his Oscar, I  do wish he’d had more to say in this film about political choices with some bearing on the present. — J.R.

The Fog of War ** (Worth seeing)

Directed by Errol Morris.

In The Fog of War, Errol Morris interviews an 84-year-old Robert S. McNamara, who served as secretary of defense under presidents Kennedy and Johnson and is widely regarded as the architect of the American war in Vietnam. There’s something undeniably masterful about the film, which also includes archival footage, but that mastery is what sticks in my craw: it’s a capacity to say as little as possible while giving the impression of saying a great deal, a skill shared by McNamara and Morris. I’m not sure what we have to gain from this — the satisfaction that we’re somehow taking care of business when we’re actually fast asleep?

This sleight of hand takes many forms, including the film’s title, repeated shots of dominoes lined up on a map of southeast Asia, and the “eleven lessons from the life of Robert McNamara” dispensed in intertitles to introduce the various segments — portentous platitudes ranging from “Rationality will not save us” and “Maximize efficiency” to “Get the data” and “Be prepared to reexamine your reasoning.” Read more

From the Chicago Reader (May 29, 2000). — J.R.

Whether Kenneth Branagh deserves to be regarded as the successor of Laurence Olivier — or even Franco Zeffirelli — when it comes to Shakespeare is far from settled, but this misguided version of one of the Bard’s best comedies strongly suggests he’s the successor of Ed Wood when it comes to musicals. Set in 1939, on the eve of World War II, his feeble attempt to do a 30s musical is so poorly conceived, staged, and edited that it nearly rivals Mae West’s last opus, Sextette. (Peter Bogdanovich’s reviled At Long Last Love is a masterpiece by comparison.) The only performer who emerges unscathed from the clunkiness is dancer Adrian Lester, and so many of Shakespeare’s lines are hacked away to make room for songs by Porter and Berlin that the play is enfeebled in the bargain. Others in the cast include Alessandro Nivola, Matthew Lillard, Natascha McElhone, Alicia Silverstone, Nathan Lane, Carmen Ejogo, Emily Mortimer, and Stefania Rocca. 93 min. (JR)

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From the Chicago Reader (July 30, 2004). — J.R.

Outfoxed: Rupert Murdoch’s War on Journalism

Directed by Robert Greenwald.

DVDs are bringing about rapid and substantial changes in the way we consume movies, and in film culture itself. A case in point is Robert Greenwald’s Outfoxed: Rupert Murdoch’s War on Journalism, which premiered July 13 on DVD and video rather than in theaters. You could have seen it at one of more than 3,000 “house party” viewings organized by MoveOn.org two Sundays ago, or you can just buy it online for $9.95 plus shipping as I did. There must be lots of others like me, because Outfoxed has been Amazon’s top-selling video title for over a week now, and the last time I looked it had 133 customer reviews.

Watching the muckraking examination of the Fox News Channel at home had its advantages: as soon as it was over, I was able to switch directly to Fox to see if it really was as awful as Greenwald’s documentary maintained. (It was.) There are also advantages to keeping a DVD like this on the shelf: you can refer back to certain points in the film for clarification. And facts aren’t all you might want to go back to: if it’s an art film, for instance, you can jump to a favorite passage — a camera movement, a facial expression, a composition, or the delivery of a line of dialogue — the same way you can open a book to revisit some favorite lines of poetry. Read more

From the Chicago Reader (June 24, 2004). — J.R.

Fahrenheit 9/11

*** (A must-see)

Directed and written by Michael Moore.

It’s bracing to see the documentary coming into its own these days, generating some of the excitement and interest that accompanied foreign (mainly European) pictures back in the 60s, when there were far more independent theaters to show them. But the New Wave and its many tributaries were perceived by critics and audiences largely as a revolution in style; the new explosion of interest in documentaries has more to do with content. Think of the broad range of subjects covered in the past few years by ABC Africa, Bowling for Columbine, Oporto of My Childhood, Joy of Madness, Stevie, The Same River Twice, Capturing the Friedmans, and My Architect: A Son’s Journey. This year alone has brought such diverse explorations as El Movimiento, The Fog of War, Les modeles de “Pickpocket,“ Super Size Me, Ford Transit, Control Room, and Route 181: Fragments of a Journey in Palestine-Israel.

Michael Moore’s Fahrenheit 9/11, the most explosive of the lot, has enjoyed the biggest buzz of any film released this year, especially after winning the top prize at the Cannes film festival in May (from a jury that was more American than French). Read more